"The Crooked Comic Con Caper," Part Three. Now that the smoke has cleared and all the bad guys have been dispatched, Archie and his friends can finally concentrate on the film deal that brought them to Hollywood in the first place. Citing the Archies' popularity and the high profile of their adventures in Europe and Africa, a big-time Hollywood producer is certain the teens' notoriety will translate to box office gold and plans to star them in a series of movies called "Mayhem Musical High." Now that they've saved half of Hollywood's biggest stars, the kids are even hotter properties! Along with that red-hotness comes offers of solo contracts for the players. Will visions of individual fame and fortune strike a sour chord with the band, or can the Archies' love of music and friendship ultimately overcome ego and greed?
TWO BRAND NEW STORIES! First, in “”Doom Back from the Tomb,” While the gang is on a hike. Jughead steps into an opening in a hollow tree and then disappears. The gang begins to investigate and promptly disappear one by one as they follow each other. It turns out to be an elevator to an underground lair! What will they unearth there? Then, in “Case of the Party Crasher,” Archie gets meta in this party on the Archie Comics lot! Your favorite characters are all letting loose in between making comics—but when Archie finds out a supervillain is threatening to crash their celebration, it’s time for Detective Sam Hill to stop the break-in before it happens!
Betty & Veronica star in their first comic book series! Take a trip back to the earliest days of Archie Comics as Betty Cooper and Veronica Lodge show the town of Riverdale who's really in charge! Prepare to experience the original Betty and Veronica with stories like "The Web", "Star Struck" and more! DISCLAIMER: The stories, characters, and incidents in this publication are entirely fictional. This publication contains material that was originally created in a less racially and socially sensitive time in our society and reflects attitudes that may be represented as offensive today. The stories are represented here without alteration for historical reference.
Archie and his friends present a collection of quarterly classic-style stories sure to be music to your ears! Follow Archie from the record store to the recording studio to the music awards in this collection of stories of musical mishaps and mirthful melodies!
From the first synchronized sound films of the late 1920s through the end of World War II, African American music and dance styles were ubiquitous in films. Black performers, however, were marginalized, mostly limited to appearing in "specialty acts" and various types of short films, whereas stardom was reserved for Whites. Jumping the Color Line discusses vernacular jazz dance in film as a focal point of American race relations. Looking at intersections of race, gender, and class, the book examines how the racialized and gendered body in film performs, challenges, and negotiates identities and stereotypes. Arguing for the transformative and subversive potential of jazz dance performance onscreen, the six chapters address a variety of films and performers, including many that have received little attention to date. Topics include Hollywood's first Black female star (Nina Mae McKinney), male tap dance "class acts" in Black-cast short films of the early 1930s, the film career of Black tap soloist Jeni LeGon, the role of dance in the Soundies jukebox shorts of the 1940s, cinematic images of the Lindy hop, and a series of teen films from the early 1940s that appealed primarily to young White fans of swing culture. With a majority of examples taken from marginal film forms, such as shorts and B movies, the book highlights their role in disseminating alternative images of racial and gender identities as embodied by dancers – images that were at least partly at odds with those typically found in major Hollywood productions.
The disastrous Buffalo Creek Treaty of 1838 called for the Senecas’ removal to Kansas (then part of the Indian Territory). From this low point, the Seneca Nation of Indians, which today occupies three reservations in western New York, sought to rebound. Beginning with events leading to the Seneca Revolution in 1848, which transformed the nation’s government from a council of chiefs to an elected system, Laurence M. Hauptman traces Seneca history through the New Deal. Based on the author’s nearly fifty years of archival research, interviews, and applied work, Coming Full Circle shows that Seneca leaders in these years learned valuable lessons and adapted to change, thereby preparing the nation to meet the challenges it would face in the post–World War II era, including major land loss and threats of termination. Instead of emphasizing American Indian decline, Hauptman stresses that the Senecas were actors in their own history and demonstrated cultural and political resilience. Both Native belief, in the form of the Good Message of Handsome Lake, and Christianity were major forces in Seneca life; women continued to play important social and economic roles despite the demise of clan matrons’ right to nominate the chiefs; and Senecas became involved in national and international competition in long-distance running and in lacrosse. The Seneca Nation also achieved noteworthy political successes in this period. The Senecas resisted allotment, and thus saved their reservations from breakup and sale. They recruited powerful allies, including attorneys, congressmen, journalists, and religious leaders. They saved their Oil Spring Reservation, winning a U.S. Supreme Court case against New York State on the issue of taxation and won remuneration in their Kansas Claims case. These efforts laid the groundwork for the Senecas’ postwar endeavor to seek compensation before the Indian Claims Commission and pursuit of a series of land claims and tax lawsuits against New York State.
In Race, Rock, and Elvis, Michael T. Bertrand contends that popular music, specifically Elvis Presley's brand of rock 'n' roll, helped revise racial attitudes after World War II. Observing that youthful fans of rhythm and blues, rock 'n' roll, and other black-inspired music seemed more inclined than their segregationist elders to ignore the color line, Bertrand links popular music with a more general relaxation, led by white youths, of the historical denigration of blacks in the South. The tradition of southern racism, successfully communicated to previous generations, failed for the first time when confronted with the demand for rock 'n' roll by a new, national, commercialized youth culture. In a narrative peppered with the colorful observations of ordinary southerners, Bertrand argues that appreciating black music made possible a new recognition of blacks as fellow human beings. Bertrand documents black enthusiasm for Elvis Presley and cites the racially mixed audiences that flocked to the new music at a time when adults expected separate performances for black audiences and white. He describes the critical role of radio and recordings in blurring the color line and notes that these media made black culture available to appreciative whites on an unprecedented scale. He also shows how music was used to define and express the values of a southern working-class youth culture in transition, as young whites, many of them trying to orient themselves in an unfamiliar urban setting, embraced black music and culture as a means of identifying themselves. By adding rock 'n' roll to the mix of factors that fed into civil rights advances in the South, Race, Rock, and Elvis shows how the music,with its rituals and vehicles, symbolized the vast potential for racial accord inherent in postwar society.
