Combing every medium--vaudeville, musical comedy, films, radio, and television--Franklin brings together, in text and pictures, the comedians and the classic routines that have, for nearly a century, made America laugh

Hardcover book with dust jacket is an history of thoroughbred horse racing. Many photos of important races and horses.

We live in and from nature, but the way we have evolved of doing this is about to destroy us. capitalism and its by-products–imperialism, war, neoliberal globalization, racism, poverty and the destruction of community–are all playing a part in the destruction of our ecosystem. only now are we beginning to realize the depth of the crisis and the kind of transformation that will have to occur to ensure our survival. This second, thoroughly updated, edition of The Enemy of Nature speaks to this new environmental awareness. By suggesting a radical new way forward, a new kind of “ecosocialism,” Joel Kovel offers real hope and vision for a more sustainable future.

"Six Myths about the Good Life focuses on the values that are worth aiming for in our lives, a topic central to what has been called Philosophy of Life. We all have ideas about the good life. We think that pleasure makes life better. We want to be happy. We think that achievements make a difference. There is something to all these ideas, but if taken simply and generally they all miss out on something. Six Myths about the Good Life explores what they miss and, in the process, gives a sense of what a good life can be."--

Technical changes in the first half of the nineteenth century led to unprecedented economic growth and capital formation throughout Western Europe; and yet Ireland hardly participated in this process at all. While the Northern Atlantic Economy prospered, the Great Irish Famine of 1845-50 killed a million and a half people and caused hundreds of thousands to flee the country. Why the Irish economy failed to grow, and 'why Ireland starved' remains an unresolved riddle of economic history. Professor Mokyr maintains that the 'Hungry Forties' were caused by the overall underdevelopment of the economy during the decades which preceded the famine. In Why Ireland Starved he tests various hypotheses that have been put forward to account for this backwardness. He dismisses widespread arguments that Irish poverty can be explained in terms of over-population, an evil land system or malicious exploitation by the British. Instead, he argues that the causes have to be sought in the low productivity of labor and the insufficient formation of physical capital - results of the peculiar political and social structure of Ireland, continuous conflicts between landlords and tenants, and the rigidity of Irish economic institutions. Mokyr's methodology is rigorous and quantitative, in the tradition of the New Economic History. It sets out to test hypotheses about the causal connections between economic and non-economic phenomena. Irish history is often heavily coloured by political convictions: of Dutch-Jewish origin, trained in Israel and working in the United States. Mokyr brings to this controversial field not only wide research experience but also impartiality and scientific objectivity. The book is primarily aimed at numerate economic historians, historical demographers, economists specializing in agricultural economics and economic development and specialists in Irish and British nineteenth-century history. The text is, nonetheless, free of technical jargon, with the more complex material relegated to appendixes. Mokyr's line of reasoning is transparent and has been easily accessible and useful to readers without graduate training in economic theory and econometrics since ists first publication in 1983.

Argues Emerson's representatives both as an American writer of his time and as a comprehensive human spirit. Emerson appears here in all his vital contradictions.

In a world of magic and mystery, the peasant Kami defied centuries of tradition to create a totally new profession: detective. Now he's known as Discoverer-of-Truth . . . and taking on the ancient art of murder is his specialty. On the eve of a royal wedding, a nobleman is killed with an arrow belonging to the groom.

Kethol--The pretty fellow, a long and lanky redhead with an easy smile and an easygoing attitude that his clever eyes deny. He is quick with a quick...and quicker with a sword. Durine--The big man, a head taller than most and twice as wide, built like a barrel, with a loyal heart and hands too thick to use anything more delicate than an ax handle. Pirojil--The ugly one, his face heavy-jawed, with an eye ridge that would mark him as a Neanderthal only to the most gracious. But looks deceive, and his might be the rarest gift of all. Athos, Porthos, and Aramis they're not.

Several of them, in fact. He's the heir to an empire-but he doesn't want to be. And nobody believes that he could or would walk away, and give the job of ruling the kingdom to someone else. In this roller coaster of a sequel to Not Exactly the Three Musketeers , it looks like the stage is set for a major shake-up in the kingdom. Jason's help in keeping everything from blowing up are the self-appointed soldiers of the errant Jason, sent by that wily off-worlder Walter Slovotsky to keep Jason in one piece . . . more or less. There's Kethol, the long and lanky redhead with an easy smile, who's quick with a quip and quicker with a sword; Pirojil, the ugly one, whose looks deceive and whose might and loyalty are worth a kingdom; and the fledgling wizard Erenor, a man who tries to stay two steps ahead of his enemies--as well as one step ahead of his friends. They're all part of the Cullinane retinue, sworn to protect the Cullinane manse and the sometimes-heroic Jason Cullinane and they have their hands full. Because no one likes a vacuum--or one too many contenders for power, Jason's soldiers are going to have to do some fast adventuring to make it all turn out all right. Next in Joel Rosenberg's bestselling Guardians of the Flame series, Not Quite Scaramouche continues the adventures of the journeyman soldiers of Castle Cullinane (and their sometimes ill-fated leader) in all their raucous glory.

Kethol is an adventurer with an easy smile, a man who is quick with a quip and quicker with a sword. His partner, Pirojil, the ugly one, looks impressive and deceives people into thinking he's stupid to their sorrow-for his might and loyalty are worth a kingdom. And the fledgling wizard Erenor, a man who tries to stay two steps ahead of his enemies, as well as one step ahead of his friends. Loyal retainers they are, sworn to Jason Cullianane, a man who walked away from a crown, and who has been trying to convince all the almost-warring factions that he doesn't want the job back. Their lives aren't very easy, what with keeping Jason from getting killed by yet another conspiracy, rescuing some damsel or whatnot in distress, and squirreling away something for the ever-diminishing prospect of retirement. And now it looks like our heroes might wind up succeeding in none of their schemes, for there are plots within plots, and Kethol has been forced into a disguise not of his own making. There is magic aplenty in the air (and on the ground), and in order to save a kingdom, they may have to pull off a complicated scheme that could kill them all--or land them in positions of supreme power. But, hey, whoever said that a soldier's life was a cakewalk? Set in Joel Rosenberg's bestselling Guardians of the Flame series, Not Really the Prisoner of Zenda is the third adventure of the journeymen soldiers of Castle Cullianane (and their sometimes ill-fated leader) in all their raucous glory. A fun, fast-paced read, it's a rollicking roller coaster of a book that will have fantasy fans reaching for more.

In the seventeenth century, in an alternate universe where Mordred defeated King Arthur¿now known as ¿Arthur the Tyrant¿¿and founded the Pendragon dynasty, much of Europe, Asia, and the New World are part of an Empire ruled from England. The Order of Crown, Shield, and Dragon, originally founded as Mordred's personal bodyguard, has become a legion of special agents for the Crown: special emissaries in time of peace, and invincible warriors in more violent times. They carry special weapons: swords, each of which contains the soul of someone of great power. White swords are inhabited by the souls of saints¿and red swords by those who were anything but saints. Even in the hands of a knight of the Order, even wielded in the cause of righteousness, a red sword is terribly dangerous to its owner and all around him. In more evil hands, a red sword is the most dangerous and powerful weapon known to mankind. Now, three knights of the Order have just tracked down a previously unknown red sword which was found on a Grecian shore, and which shows all signs of having been recently forged. Worse, the mind encased in the sword remembers that it was only one of many which were cached in the hold of a mysterious sailing ship, origin unknown. . . .

In a city where the fortune of the planet Oroga are concentrated in the hands of a privileged few, David is stolen as a baby and raised as a thief of the Lower City. When an alien offers David the key to the universe, how long can a master thief resist?

In 1997, amid Aerosmith's sold-out world tour and number one album release, word about Joey's troubles was reported in the press.Despite the advice he had received to play it down, Joey revealed in an interview his ongoing struggles with depression. The response from fans and people battling those same internal demons was overwhelming. Joey—who has been the drummer in Aerosmith since it was founded in 1970 and is the first member of the band to release his own book—now tells the complete story: the early days of the band, glamorous drug-addled events leading up to their eventual sobriety, battles within his family and among bandmates, and the explosive internal dynamics in Aerosmith that continue to unleash a fury of endless creativity. This is not just another rock 'n' roll memoir. In addition to the never-before-told Aerosmith war stories that abound in the book, Hit Hard unpacks the history of a rock star who was both fragile and tough, who after years of insane wildness became willing to accept help and finally kick a serious alcohol and drug addiction, only to find that the real terrors and hard work were still ahead. It's the story of an average kid from an average American suburb who went through physical and emotional trauma. It's about years of depression and the nervous breakdown at the height of the band's comeback success. Ultimately, Hit Hard is about how Joey recognized his confusion between love and abuse, awakening to the kind of self-acceptance and compassion that make relationships possible in the "real world" as a member of the biggest band in American history.

The Century of Artists' Books is the first full-length study of the development of artists' books as a twentieth century art-form. This work situates artists' books within the context of mainstream developments in the visual arts from Russian Futurism and Surrealism to Fluxus, Conceptual Art, to Postmodernism. Designed to raise critical and theoretical issues as well as provide a historical overview, this book explores more than two hundred individual books in relation to their structure, form, and conceptualization. Topics include the discussion of the poetics of the book, the book as a metaphor, the conceptual space of the book, and books as narrative and non-narrative sequences. Each chapter uses these specific issues to examine the works of well-known book artists and publishers. The book provides a foundation for future work in the history and critical interpretation of artists' books, as well as offering a structure for teaching artists' books to practitioners, collectors, and curators.

The New York Times hailed John B. Judis's The Emerging Democratic Majority as "indispensable." Now this brilliant political writer compares the failure of American imperialism a century ago with the potential failure of the current administration's imperialistic policies. One hundred years ago, Theodore Roosevelt believed that the only way the United States could achieve peace, prosperity, and national greatness was by joining Europe in a struggle to add colonies. But Roosevelt became disillusioned with this imperialist strategy after a long war in the Philippines. Woodrow Wilson, shocked by nationalist backlash to American intervention in Mexico and by the outbreak of World War I, began to see imperialism not as an instrument of peace and democracy, but of war and tyranny. Wilson advocated that the United States lead the nations of the world in eliminating colonialism and by creating a "community of power" to replace the unstable "balance of power." Wilson's efforts were frustrated, but decades later they led to the creation of the United Nations, NATO, the IMF, and the World Bank. The prosperity and relative peace in the United States of the past fifty years confirmed the wisdom of Wilson's approach. Despite the proven success of Wilson's strategy, George W. Bush has repudiated it. He has revived the narrow nationalism of the Republicans who rejected the League of Nations in the 1920s. And at the urging of his neoconservative supporters, he has revived the old, discredited imperialist strategy of attempting to unilaterally overthrow regimes deemed unfriendly by his administration. Bush rejects the role of international institutions and agreements in curbing terrorists, slowing global pollution, and containing potential threats. In The Folly of Empire, John B. Judis convincingly pits Wilson's arguments against those of George W. Bush and the neoconservatives. Judis draws sharp contrasts between the Bush administration's policies, especially with regard to Iraq, and those of every administration from Franklin Roosevelt and Harry Truman through George H. W. Bush and Bill Clinton. The result is a concise, thought-provoking look at America's position in the world -- then and now -- and how it has been formed, that will spark debate and controversy in Washington and beyond. The Folly of Empire raises crucial questions about why the Bush administration has embarked on a foreign policy that has been proven unsuccessful and presents damning evidence that its failure is already imminent. The final message is a sobering one: Leaders ignore history's lessons at their peril.