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, twenty-one men, and six “Schuhpladlers.”15 The first act of the Philadelphia version opens on a street in Dresden, as passersby seek a local speakeasy, 21 (“Fatherland, Mother of the Band”). The action moves to the bar’s quaintly German interior, where American tourists can order wine and beer as well as soft drinks—the lat- ter prohibited in Germany. Golo (Jack Buchanan), a bootlegger (of soft drinks), runs the bar assisted by his gang, including his henchman, Katz (Manart Kippen), and his moll, Gita (Lyda Roberti). Gita entertains the crowd (“The Lorelei”), and Golo

Côtes de Bordeaux, all on the right bank of the Gironde estuary. 55. Quoted in Charles Bremner, “Brave New World for French Wine,” The Times, March 31, 2006. CHAPTER 4. BAPTISTS AND BOOTLEGGERS 1. Kim Marcus, “When Winemakers Become Criminals,” Wine Spectator, May 15, 1997. 2. Ruth Teiser and Catherine Harroun, “The Volstead Act: Rebirth and Boom,” in The University of California/Sotheby Book of California Wine, ed. Doris Muscatine, Maynard A. Amerine, and Bob Thompson (Berkeley: University of California Press, 1984), 77. 3. Leon D. Adams, Wines of America (New York

, apparently never practicing. Then in 1929 Harry married Isaac Lefkowitz’s niece Charlotte and finally decided to get serious. From Wall Street stocks to Brooklyn real estate, hungry young men could choose from scores of legitimate money-making opportunities in 1920s New York. For Harry Dolowich, however, the trick was not to work for it. Luckily for him, that wide-open era offered even more opportunities in the illicit occupations known as the rackets. He could choose from old standbys like bootlegging, gambling, or peddling worthless securities, or he could try one

mount up once a year?” “But she mounts . . .” “It doesn’t matter. What we’re talking about is whether she knows how to manage that house and care for Cucusa’s santos. Getting all riled up once a year and writhing around on the floor shouting—that is no preparation for all the things you have to handle to host a feast for Babalú Ayé. Enough.” The next day we were back at her house after separate outings. I was look- ing for aguardiente, and she was out to pick up an electrical cable from one of her godchildren in Palo. My bootlegger was a government chemist with a

, something he did more than once, Coubertin would close with a bow: “Please remember us all to Mrs. Garland. It will be such a delight to have you both in Rome . . .” These types of communications seemed particularly archaic for Billy, given all that was happening just then in Southern California and the United States. The year 1920 saw the adoption of both the Eighteenth and the Nineteenth Amendments—prohibition and women’s suffrage— and the start of a cultural upheaval: the Roaring Twenties. With prohi- bition came speakeasies, bordellos, bootleggers, smugglers and

-aware. And half-aware, he deceives; for he cannot help smuggling unexamined moral and metaphysical judgments into his 'close analyses,' any more than the 'pure' literary historian can help bootlegging uncon- fessed aesthetic estimates into his chronicles. Literary criticism is always becoming 'something else,' for the simple reason that literature is always 'something else.' " "My Credo: A Symposium of Critics," Kenyon Re- view, Vol. XII, No. 4 (Autumn, 1950), p. 564. Quotations used by per- mission of John Crowe Ransom, editor of the Kenyon Review. 1 1 Professor

, and other marble by land, bootlegged from Classe, for Agostino di Duccio to incise with incomparable reliefs. That stone too was gotten against the time's currents of power, as was the money the stonecutters were paid with, their patron at one time drawing his pay in a squabble " over a ten acre lot." Those were barbarous times, all Italy embroiled, government conducted by assassination, and a prince of the church dealing in stone he had no title to, for the men from Rimini to cart off by night. But San Francesco in Rimini, also known to the distress of its

among North American consumers: the exhibition of prerecorded feature motion pictures. From VHS to DVD and online media, most video with which we interact was recorded and distributed by someone else. Other video scholars have writ- ten admirable studies of time-shifting (recording television broadcasts for later viewing), bootlegging, amateur videography, and video art, but the fact remains: for most US video users since the mid-1980s, video has been synonymous with the movies.11 That association has changed the motion picture industry, but the video

include a huge number of movies and television programs that never got a commercial home video release; the value of these texts derives more from their (video) scarcity than it does aesthetic accomplishment or cultural renown. A vast number of these are movies figure 19. This zany mural distinguishes Eddie Brandt’s Saturday Matinee from the sprawl of the San Fernando Valley. Video Capitals / 105 that the owners recorded off of television, and many others are recordings of classic television, referred to as “loaners” but effectively bootlegs. The store

him shirtless and dressed in jeans. She had watched a bootleg copy of the fi lm 8 Mile, in which Eminem plays Rabbit, a character modeled on his own life growing up on the forlorn outskirts of Detroit. Emimen’s character lived in a single- wide trailer with his beer- drinking, unemployed mother. They couldn’t aff ord much, because, as Blair knew, everybody who lives in a trailer park is poor. “Some people down here are white trash too!” said Blair. “I am too, but I don’t live in a garbage can or trailer.” She smiled and laughed lightly. “I’m not!” said