Built in the USA. Designed for Americans.

Dear Patriot,

We're not just talking about bringing jobs back - we're pouring drinks in proof of it.

Introducing the "This Ain't Imported" Whiskey Glass

Built in the USA. Designed for Americans who still care about where things come from.

We're sending out the first 500 for free - you just cover the shipping.

>> Claim Yours Now

Made 100% in the USA.

It's thick. It's bold. And it proudly says what we're all thinking.

Raise a glass to American backbone.

 

sans of the two actors, called Boothites and Keanites, would occasionally start rows at venues where the two were playing together. This did not stop the two from performing in the same plays; Kean and Booth acted in several Shakespearean productions at the Theatre Royal, Drury Lane from 1817 to 1821. Kean then saw Booth as a threat and orchestrated a way for the two of them to perform those roles yet again, planning to outperform his opponent. Kean's long-standing presence contributed to Booth's neverending comparisons to his rival. Move to the United States In 1821, Booth emigrated to the United States with Mary Ann Holmes, a flower girl, abandoning his wife and their young son. Booth and Holmes claimed to be married that year and settled in 1822 near Bel Air, Maryland. For years they lived in a log cabin Booth bought, moved to his 150 acres, and whitewashed. Just before his death, he began building a much grander house which he named Tudor Hall. It was listed on the National Register of Historic Places in 1973. Booth was quickly hired to play Richard III. In less than a year, Booth became the most prominent actor in the United States. Critic William Winter said, "He was followed as a marvel. Mention of his name stirred an enthusiasm no other could awaken" (Smith 23). He embarked upon a 30-year acting career that made him famous throughout the country. Booth traveled to Baltimore, Boston, and New York. A persistent story, but apocryphal according to some sources, is that Junius Brutus Booth was acclaimed for performing Orestes in the French language in New Orleans. Theatrical manager Noah Ludlow, who was performing with Booth at the time at the American theatre there, recounts the actual events starting on page 230 of his memoir Dramatic Life As I Found It and concludes: "Therefore, I consider the story of Mr. Booth having performed Orestes in the French language, on the French stage, altogether a mistake arising from his having acted that character in the Théâtre d'Orléans of New Orleans in 1822, but in the English language." However, author and professor of theater history Stephen M. Archer notes that Ludlow was in Mobile, Alabama, in 1828, so was not present for this performance. The Folger Shakespeare Library in Washington, DC, has two playbills from the production and both are in French.[citation needed] Booth's daughter Asia wrote that her father spoke fluent French and cited a review on the subject. The review was not oblivious to the fact that Booth's French pronunciation was less than perfect, however. In 1823, Booth did the role in New York in the English adapt