Search

The Cowboy President: How the American West Transformed Theodore Roosevelt details how his time spent in the Western Dakota Territory helped him recover from an overwhelming personal loss, but more importantly, how it transformed him into the man etched onto Mount Rushmore, a man who is still rated as one of the top five Presidents in American history. Unlike other Roosevelt biographies, The Cowboy President details how the land, the people and the Western code of honor had an enormous impact on Theodore and how this experience influenced him in his later years.

The most complete available reference on the most extraordinary star of the silent film era.

In 1903, Theodore Roosevelt planned a tour of the mid-West and Western states. It was dubbed the “Great Loop Tour,” being careful not to call it a campaign tour, although he intended to seek re-election the following year. Theodore was adamant that his speeches be devoid of any partisan rhetoric, nor would he meet solely with Republican office holders in the various cities and towns he planned to visit. He would happily shake hands with a Democratic mayor or Senator just as he would a Republican. Theodore’s speeches, which he wrote himself, covered subjects of good citizenship, a square deal for every man, a strong navy, and the positive aspects of the recent irrigation bill he signed into law. Then there were his speeches relating to conservation of the land, forests, rivers, and wildlife. Nowhere did these subjects become more important to him than when he visited Yellowstone, the Grand Canyon and Yosemite. While he was still three years away from having the law that would knight him as the “Conservation President,” Theodore was already making his mark on preserving the country’s resources.

A lot can happen in 30 seconds. In the case of the shoot-out at the O.K. Corral, 30 seconds found three men dead, left two men wounded and ultimately captured the imagination of generations of Americans. Wyatt Earp, an against-all-odds hero who was literally the last man standing; Doc Holliday, Earp's unlikely crony; the tragic tale of the Earp family--all of these elements make the story of the O.K. Corral irresistible to a great many people. Hollywood filmmakers were quick to recognize the legend's attraction--and its potential. As early as 1939 (with the production of Frontier Marshal), moviemakers were recreating the gunfight at the O.K. Corral and its attendant happenings in Tombstone, Arizona, on October 26, 1881. The following decades produced various renderings of the story, some more historically accurate than others but all with the American flair for entertainment. This volume examines eight movie renderings of the legendary gunfight. Produced from 1939 to 1994, these movies each use Wyatt Earp and other real-life characters as their sources. The work focuses on the filmmakers' treatment of the history and the skill with which each balances fact with the necessity of entertainment. The ways in which Wyatt Earp is presented in each film and this portrayal's relationship to the period in which the film was made is also examined in detail. Films discussed are Frontier Marshal (1939), Tombstone: The Town Too Tough to Die (1942), My Darling Clementine (1946), Gunfight at the O.K. Corral (1957), Hour of the Gun (1967), Doc (1971), Tombstone (1993), and Wyatt Earp (1994). Period photographs are also included.

Like other filmmakers in post-WWII Hollywood, John Ford (already a three-time Best Directing Oscar winner), longed for the freedom and independence to make his own films, away from the dictates of studio executives. Then, in 1946, Ford and producer Merian C. Cooper (King Kong) decided to form their own production company, Argosy Productions. But their first venture was a financial flop, burdening the new company with heavy debt. Ford turned to the Western genre to help his flagging company, adapting James Warner Bellah's short story, "Massacre." Fort Apache, released in 1948, starring John Wayne, Henry Fonda and Shirley Temple, was popular at the box office and with film critics. The following year, She Wore a Yellow Ribbon, was released to a positive critical reception a brisk business at the box office. This film was the only one in the cavalry trilogy shot in Technicolor, going on to win the Academy Award for Best Cinematography. Rio Grande (1950), the final film in the triad, was produced by Republic Pictures (the first of a three-picture deal with Argosy Productions) and marked the first pairing of John Wayne and Maureen O'Hara. Because of the film's box office success, Republic Pictures greenlit Ford's dream project, The Quiet Man (1952). John Ford's cavalry trilogy is considered some of his finest work, although Ford always claimed he never intended to make a trilogy. The reality is the first two films were produced to financially help his company, while the final one served as a means to getting his dream project produced. The Cavalry Trilogy illuminates how each film was made, from pre-production to its theatrical release. Along the way, readers learn why Ford loved his favorite location (Monument Valley), how various stunts were achieved, and how Ford used his unique style in various scenes (called a "Fordian touch" by film critics and scholars). In addition, each film includes an analysis of Ford's scene construction and character development. Illustrated with numerous behind-the-scenes photographs, many which have never been published before, and screen captures from the cutting room floor, this book is the ultimate gift for John Ford fans and readers who love to discover the grit and glamour of Hollywood's Golden Age.

For the first time, you can put conjecture aside and read definitive proof about the roles Chaney had behind the scenes as well as in front of the camera.

This is a critical overview of monster magazines from the 1950s through the 1970s. "Monster magazine" is a blanket term to describe both magazines that focus primarily on popular horror movies and magazines that contain stories featuring monsters, both of which are illustrated in comic book style and printed in black and white. The book describes the rise and fall of these magazines, examining the contributions of Marvel Comics and several other well-known companies, as well as evaluating the effect of the Comics Code Authority on both present and future efforts in the field. It identifies several sub-genres, including monster movies, zombies, vampires, sword-and-sorcery, and pulp-style fiction. The work includes several indexes and technical credits.

What is consciousness and how can a brain, a mere collection of neurons, create it? In Consciousness and the Social Brain, Princeton neuroscientist Michael Graziano lays out an audacious new theory to account for the deepest mystery of them all. The human brain has evolved a complex circuitry that allows it to be socially intelligent. This social machinery has only just begun to be studied in detail. One function of this circuitry is to attribute awareness to others: to compute that person Y is aware of thing X. In Graziano's theory, the machinery that attributes awareness to others also attributes it to oneself. Damage that machinery and you disrupt your own awareness. Graziano discusses the science, the evidence, the philosophy, and the surprising implications of this new theory.

Thousands of books and articles have been written about the murder of JFK, many of which are large in volume and short on facts. Quite often, these works try to reinvent the wheel, attempting to cover every single area of the assassination, as well as many tangential and unessential points, as well. The reader is often left exhausted and confused. The sheer volume of pages, conflicting facts, and theories leaves one unsatisfied and, quite frankly, not sure exactly what did happen on 11/22/63. This book seeks to separate the wheat from the chaff. It is 55-plus years later: it is time for real, honest answers in an easy-to-read and understand format. Proof of a conspiracy; no theories; to-the-point; a perspective on the assassination for the millennial age and beyond. Based on years—decades—of primary source research and having read countless books on the subject.